Issue 46 / July 2014

The UK Biennial of Contemporary Art
5 July –26 October
www.biennial.com
#biennial2014
liverpoolbiennial
@biennial
ART
FILM
TALKS
MUSIC
TOURS
DEBATE
EVENTS
DRINKS
PARTIES
LECTURES
PAINTING
SYMPHONY
WORKSHOPS
EXHIBITIONS
DISCUSSIONS
PUBLICSPACES
ARCHITECTURE
PERFORMANCES
Grum adds texture to the roots rhythm with
a raspy bell and Genet Asefa enters the fray,
her ethereal North African chants floating
over the composition.
After mesmerising them, the collective soon
have the crowd dancing as the krar shows
its versatility, oozing a deep, funky bassline.
This time at the forefront of the track, Genet
utilises her astounding vocal range and soon
has the crowd clapping along without any
cue. Out of nowhere, Addis Ababa’s answer to
Bez bursts onto the scene and asks everyone
to dance with him, causing chaos to ensue
as he throws some serious shapes in an
outrageous wig.
THE FIRE BENEATH THE SEA keep the
celebrations in full swing as Wraith Of The
Woods and Barry Exanthematicus animate
Captain Morgan’s raucous party rhythm with
sharp bursts from their trumpet and sax.
Doorag Jesus soon paves the way for Rojo Fyr
Fox’s guitar solo with some deft scratching
but steals the limelight again before placing
it back on the emcees. Morgan’s broken beat
accompanies Barkerchop’s rolling bassline
as Armen Starfish, Terra Byte, the Gerbil and
Llerraf Zafgir dextrously bounce their quirky
quick-witted rhymes off each other. Adorned
in an Indian headdress, Lady Lea provides
balance, filling the gaps with a soft yet
soulful chorus, clearly elated by the fiesta
atmosphere permeating the formidable
venue.
It’s exactly the kind of atmosphere New
Orleans’ HOT 8 BRASS BAND feel at home
in. The suitably named Big Peter leads
the band out and, with light bouncing off
his enormous sousaphone, begins Rock
With the Hot 8. Lil Sammy starts to tickle
the snare around his neck before Swamp
Thang clatters the crash atop his bellowing
bass drum and the two move into a rideheavy
rhythm. Terrell “Burger” Batiste leads
the front row as they sing the chorus but
soon he and Dr Rackle have picked up
their trumpets and are adding vibrancy
and dimension to the sousaphone’s deep
groove. Readying their trombones, Edward
Jackson, Gregory Veals and John Gilbert
(who obviously missed the trip to the Deed
Poll office) are on hand to further the point
and there seems to be a strong correlation
between the amount of brass in use and
the dancing amongst the crowd.
With songs seamlessly flowing into one
another, the Hot 8 move from an intoxicating
blend of swing jazz and roots reggae into
the howling samba of Bingo Bango, before
finishing on a fiery medley of Ghost Town
and Sexual Healing. After that, it was no
surprise to see their encore plummet into
a mass stage invasion, possibly a first for
the Cathedral, though the Sunday service is
known to get quite lively.
Josh Ray / @Josh5446Ray
FUTURE ISLANDS
Ed Shrader’s Music Beat
Harvest Sun @ The Kazimier
Many, myself included, have ruminated on
the fickle nature of fame. How many times
have some bands lingered in obscurity whilst
others, ostensibly inferior, go on to find riches
and fame beyond comprehension? Tonight’s
Kazimier show provides ample food for further
thought. Firstly why haven’t I, or anyone I ask,
ever heard of ED SHRADER’S MUSIC BEAT? Their
tongue-in-cheek, post-punk minimalism is an
unexpected but hugely enjoyable delight. It is
also worthy of consideration that, the last time
FUTURE ISLANDS played in Liverpool, it was to
a near non-existent crowd in the now nonexistent
Korova. This fact is brought to light
by lead singer Samuel T Herring, with only
the slightest hint of self-satisfaction, as he
gazes down on a sell-out crowd. The size and
demographic of said audience speak volumes
about the breadth of Future Island’s newfound
fame. The room is buzzing with energy quite
unlike anything I’ve experienced for a long
time and it's understandable why. After a
snowball of press from that now infamous
Letterman performance, you could be forgiven
for assuming a band of their stature would
be interested in playing only the biggest of
clubs in every city they hit. Because of the
comparatively insular surroundings of The
Kazimier, however, there is a palpable sense
that everyone understands, and is excited
by, the rare opportunity afforded to them by
a booking they are unlikely to see again. This
should itself say something about the attitude
of the band. In spite of my initial misgivings
that the excitement might have long since
worn off and the band might, in the midst of
their punishing touring schedule, be phoning
it in, they perform every song with the vim,
vigour and sincerity of a band happy to be
on any stage. It doesn’t take long for the
infectious energy of the room to vitalise the
evening. It’s an energy that Herring is all too
ready to feed on, exercising every last demon
out of himself on stage. From the melodrama
of his pre-song monologues to the physicality
of his now infamous dance moves, he sheds
every last ounce of composure and relishes a
very public celebration of his idiosyncrasies.
With each guttural roar and pound of his
chest, he strikes the figure of a man striving
to give more than his body will allow, willing
himself to express something of which he is
almost profoundly incapable. From the first
song to the last, including set highlights Sun
In The Morning and Back In The Tall Grass, the
spirit rarely drops. This borderline aggressive
energy is almost undoubtedly the reason
Future Islands find themselves in the position
they are today. It's as evident here as it is in
the video that launched them to fame: the